Inside Belmond’s cultural evolution: a conversation with Arnaud Champenois
Samson Bakare on creative influences and the hidden blessings of solitary work
A New Creative Era
Exploring a new, culturally attuned era reshaping how we stay
Artiq Asks
What inspires Joyce Wang, a designer operating at the top of her game?
Ones to Watch
Four recent graduates poised to make their mark on the world
The team at ERIC shares 8 strategies that actually work
Art in the Aftermath
Some say AI and technology are killing creativity; others argue they’re redefining it
Patrons of the Present
Corporate patronage is changing, and living artists are taking centre stage
On Material and Making
A conversation with artists Juliet Ferguson-Rose and Nowshin Prenon
Hive Mind
Leaders from across the creative industries reflect on what’s working, what’s broken, and what’s next
Making Space
From New York to Xi’an, Heatherwick studio designs with empathy and collaboration at its core
Brands that inspire, innovate, and elevate the design process
Editor’s Note
Welcome to the Artiq Annual—our third annual love letter to creativity in all its messy, brilliant, vital glory.
At Artiq, we believe creativity is not a whisper in the void, nor a shout into the ether. It’s here. It’s real. It’s valuable. What is life without culture? What is life without creativity? These aren’t rhetorical questions—they’re a wake-up call.
Creativity is part of what makes us human. It’s not just for artists; it’s for everyone. A fundamental skill that helps us solve problems, understand the world, and imagine better futures. It’s something we all have access too, and something we all need to use. This volume is a celebration of creative power, and of the people, places, and ideas propelling it
forward. Inside, you’ll discover stories that span continents and disciplines: from Arnaud Champenois’ visionary leadership at Belmond, a brand redefining the art of luxury travel, to British icon Thomas Heatherwick’s global influence on place and identity, and a deepdive into the mind of Joyce Wang, revealing what fuels a designer operating at the top of her game.
We explore the resurgence of craft as a means of connecting with shared histories, and how technology is reshaping access to art, challenging gatekeepers and opening new pathways for creators and audiences alike. We look at how creativity is transforming the world of work, with Gen Z leading a shift in expectations around meaning, belonging and self-expression. We also consider the evolving
role of corporate patronage, and the ways art can foster deeper cultural understanding for today’s global travellers.
Alongside these themes, we spotlight some of the most exciting artists working today— emerging talents, solitary makers, and those navigating the responsibility of reflecting the world through their practice. But beyond the features, this journal is also a quiet protest—a refusal to accept the sidelining of imagination. Too often, creativity is seen as soft: intangible, uncertain, difficult to measure, and therefore easy to dismiss. In the pursuit of quick results and financial returns, we risk overlooking its deeper, longer-term impact. Creativity isn’t linear. It doesn’t always tick a box. But it is the foundation of innovation, resilience, empathy, and growth. That’s why, in our Hive Mind
piece, we’ve brought together leading thinkers to reflect on the state of the UK’s creative industries. It’s one of our most dynamic sectors, yet still fighting for the recognition and infrastructure it deserves. We examine the pressures, the potential, and the policies that could shape its future: from public investment to social value, economic resilience to human wellbeing.
The Artiq Annual is our response to creative neglect, and our vision for something better. A future where imagination isn’t an afterthought, but a priority. Where creativity is recognised not as a luxury, but as essential to how we live, work, and connect. This isn’t just a magazine. It’s a manifesto. Welcome in.
Patrick McCrae, Chair of Artiq
The Art of Hospitality
Few brands have mastered the art of hospitality quite like Belmond. Patrick McCrae sits down with Arnaud Champenois to explore the future of luxury travel and the brand’s expanding cultural influence.
With a collection of iconic hotels, trains, river cruises, and safari lodges around the globe, Belmond has consistently set itself apart through a deep commitment to art, culture, and the power of storytelling. However, what distinguishes the brand’s approach to art as a core pillar of its brand identity is how it extends far beyond the walls of its hotels.
While its collections are of museum calibre, the brand also fosters creativity through an artist residency in Mallorca, where talents like Chinese photographer Pixy Liao and Emirati painter Hashel Al Lamki have taken up residence in Deià. The Belmond Legends marketing campaign reimagines its properties through the lenses of global photographic talent, including Coco Capitán, Rosie Marks, and Letizia Le Fur. Its success led Belmond
to venture into publishing, resulting in As Seen By, a series of collectible photobooks created in collaboration with Parisian publisher RVB. As someone who has spent their career championing the benefits of businesses investing in art and collaborating directly with artists, I was keen to understand how the mind behind Belmond’s strategy is shaping its creative direction.
Guiding this evolution is Arnaud Champenois, Belmond’s Senior Vice President of Marketing and Brand. His career has been defined by luxury brands, reimagining their narratives, and harnessing creativity as a driving force for transformation. Meeting in London, we discussed his journey, the evolving landscape of luxury, and why meaningful experiences lie at the heart of Belmond’s philosophy.
Belmond Legends, Mount Nelson, A Belmond Hotel, Cape Town, as seen by Rosie Marks.
Belmond Legends, Eastern & Oriental Express, A Belmond Train, Malaysia, as seen by Stefanie Moshammer.
“I’ve always been drawn to the beginning of something—whether it’s launching new brands, creating products, or reviving ‘sleeping beauty’ brands that need a fresh perspective and a new lease on life. Creativity, art, and contemporary culture are the most powerful tools for reinvention. It also ties into my passion for shaping roles I love. You join a company, but within it, you have the opportunity to carve out your own path, defining what you bring to the brand and how you evolve its story.”
Arnaud’s journey began over two decades ago at Cartier in London, where he started in product marketing and communications. Working under Pilar Boxford, a formidable figure in luxury communications, he learned that branding extends far beyond products. “Pilar was like the queen of communication in the UK at the time. She launched the Cartier International Polo, one of the most significant luxury events at that time.” He then moved to Paris to join L’Oréal’s luxury division, working with Giorgio Armani, Ralph Lauren, and Viktor & Rolf, launching their beauty brand and creating Flowerbomb, a career-defining moment.
After a decade at L’Oréal, he was headhunted by Starwood in Singapore, where he shaped brand strategy for W Hotels, St. Regis, The Luxury Collection, and Le Méridien across the Asia-Pacific region. Here, his career shifted from luxury products to experiences, exactly where the market is today. As Arnaud notes, “Luxury consumers are moving away from ownership and towards lived encounters, spending less on products but more on creating memories. It was also a fascinating time to be in Asia. The region was undergoing a massive transformation, and you could feel the energy everywhere you went. I also had a major realisation that reshaped my perspective on
luxury and influenced my career. We were all looking for ways to attract a new generation of guests and consumers. That’s when I met Jérôme Sans, the French curator and cofounder of Palais de Tokyo in Paris. We began developing contemporary art programming together for Le Méridien. I was based in Asia then, and Jérôme had deep insight into Asian artists, particularly from China, Taiwan, and India. We curated exhibitions and collaborations with incredibly talented artists from these regions, which truly opened my eyes to the power of art and culture in shaping guest experiences. It was a breakthrough moment for me.”
After six years in Singapore, head hunters approached Arnaud once again with an opportunity to lead the transformation of the legendary Orient Express brand—now under Belmond’s ownership. It was the perfect challenge. “Belmond had this incredible heritage,” he explains. “We’re talking about properties like the Copacabana Palace in Rio and Hotel Cipriani in Venice—places steeped in history and stories. But heritage alone isn’t enough. I moved to London to lead the reimagining of the brand and build the Belmond platform. With such an incredible portfolio, the challenge was how to evolve it for a new generation of guests, honouring its legacy while making it feel contemporary and relevant today.”
Central to that vision was the Belmond Legends campaign. “We wanted to capture the essence of our properties through fresh perspectives,” he says. “Rather than hiring traditional hospitality photographers, we collaborated with fashion and lifestyle photographers, as well as visual artists—people who could bring an entirely different lens to what luxury travel looks like.”
Belmond Legends, Le Manoir aux Quat’Saisons, A Belmond Hotel, Oxfordshire, as seen by Thomas Rousset and Maroma, A Belmond Hotel, Riviera Maya, as seen by Jack Davidson.
Photographers like Rosie Marks, François Halard, and Jack Davidson were invited to capture Belmond’s properties, each bringing their own unique style to the brand. “I’m incredibly proud of this campaign. It’s something that hasn’t been done before in hospitality and travel, and it has resonated with a new generation of both guests and artists.”
It’s a game-changer, framing travel through a more fashionable, contemporary lens. By juxtaposing historic buildings with modern creative perspectives, the campaign adds a whole new layer of storytelling to the brand. “Also, it’s real; we’re capturing the experience, a feeling—something alive and in motion.”
If Belmond Legends is redefining how the brand presents itself visually, the Mitico project is transforming how guests interact with Belmond properties. In partnership with Galleria Continua, Mitico has turned some of Belmond’s most captivating landmarks into
Arnaud Champenois is Belmond’s Senior Vice President of Marketing and Brand.
outdoor art installations. One of the most memorable was by Subodh Gupta at Hotel Cipriani during the Venice Biennale. “It was more than an art piece—it was an experience. Subodh Gupta was cooking, and during the Venice Biennale, he prepared meals twice a day for five days. We hosted guests, influencers, and celebrities, turning it into a conversation about him, his work, and his vision. He called it his cosmos, using traditional Indian kitchen utensils, passed down through generations, to build a house where he cooked and shared meals. What’s more meaningful today than coming together over food with friends and family? It was a beautiful metaphor for life.”
I ask Arnaud whether he sees Belmond’s role evolving beyond hospitality—becoming a publisher, a curator, and, in many ways, an arts patron. Is this a response to the desires and expectations of its guests, or is Belmond actively shaping the trend? Not every brand is investing this much in arts and culture, nor
Splendido, A Belmond Hotel reopens this summer in Portofino, Italy, marking a new chapter of timeless elegance. Interiors by Martin Brudnizki Design Studio, art curation by Artiq, photography by Salva Lopes.
supporting young creatives due to perceived costs. Does Belmond see itself as driving this trend or responding to an existing demand? “Well, you tell me,” Arnaud says. “In hospitality and travel, I’d say absolutely we are leading the way. But I wouldn’t claim we’re ahead of industries like fashion, where investment in art is deeply ingrained, and creativity drives everything they do. That said, it’s also personal for me. I have a real passion for art and culture, and as I mentioned earlier, you create the job you want to enjoy. So yes, it benefits the brand, but I also genuinely love working with arts and culture to shape Belmond’s programming.”
For context, my team at Artiq and I worked with Arnaud and his team at Belmond in 2018 to develop their global art guidelines, a framework for how the brand’s art strategy could be woven into any of its properties, anywhere in the world. I remember helping Arnaud and Belmond acquire works by renowned Italian artists Mimmo Jodice and Salvatore Emblema for hotels in Taormina and along the Amalfi Coast. Even then, it felt like a project deeply
Villa San Michele in Florence in the summer of 2022. Climbing it, you saw the Duomo, a perfect balance of contemporary art and the historic cultural context of the city.
Belmond’s vision of luxury isn’t about excess. Rather, it’s about time, place, and the art of togetherness. Nowhere is this more evident than in the revitalisation of the Eastern & Oriental Express, Arnaud’s original gateway into Belmond. The reimagined journeys take travellers through heritage-rich cities like Penang and Kuala Lumpur, as well as deep into Malaysia’s rainforests, where Belmond partners with WWF to support conservation efforts. In Peru, the Andean Explorer travels across the Andes, soaring 4,000 meters above sea level, so high that several journalists needed oxygen on the press tour. In Europe, the Venice Simplon-Orient-Express remains perhaps the most storied set of carriages in the world. Once carrying figures like Leo Tolstoy, Marlene Dietrich, and Lawrence of Arabia, it has more recently starred in The Spy Who Loved Me (1963) and Murder on the Orient Express (2017).
“Luxury consumers are moving away from ownership and towards lived encounters.”
connected to his philosophy of shaping a job he loves. At the time, he talked about how many of the Belmond properties have vast gardens and how they could easily become open-air museums or outdoor sculpture gardens. Years later, this vision became a reality. One example was an artwork, a ladder, by artist Leandro Erlich, installed in the corner of the garden at
At its core, Belmond is all about storytelling: of the past and the present, of the brand and how it sees its guests. For the Belmond Legends campaign, photographer Coco Capitán—whose work explores themes of escapism, freedom, queerness, identity, and belonging—captured an image of two men sharing a bed on the train. It was bold, striking, and sent a clear message of inclusivity. “I think it’s essential for brands and corporations to be intentional about what they display: paintings, sculptures, photography, and ceramics can all contribute to storytelling and emotion. But this was daring for us,” says Arnaud. “We received a lot of reactions on Instagram. Some were negative, but there was also a great deal of positive feedback. The photo captured a real, intimate moment between two
Window & Ladder installation by Leandro Erlich at Villa San Michele, A Belmond Hotel, Florence permanently since Mitico 2022, curated by Belmond and Galleria Continua.
Dining car on Britannic Explorer, A Belmond Train, Britain and Wales’ first luxury sleeper train. Interiors by Albion Nord, photography by Belmond.
Belmond Legends, Venice Simplon Orient-Express, A Belmond Train, Europe, as seen by Coco Capitan.
Perched on a hillside overlooking the sea, Splendido, A Belmond Hotel, Portofino.
Photography by Belmond.
people on a journey. It was documentary-style, very natural. That’s what we try to do with Belmond: work with truly talented artists to capture the authenticity of travel experiences.”
Our time together is running out. I ask him: what’s next for Belmond? If the past is any indication, the brand’s future will continue to push the boundaries of luxury hospitality, evolving beyond a portfolio of properties into a cultural powerhouse. In Portofino, a new era begins as Splendido unveils its next chapter in June 2025, following a multi-year transformation led by the internationally renowned Martin Brudnizki Design Studio. The redesign embraces the spirit of Ligurian craftsmanship while introducing a refined contemporary energy. “Splendido is a grand dame, an icon, but icons must also evolve,” Arnaud says. “This transformation brings a fresh perspective: a reimagined main building, new rooms, vibrant social spaces, and, for the first time in Italy, a Dior Spa.” In a fitting nod to Belmond’s deep-rooted connection to travel and storytelling, the Venice SimplonOrient-Express will return to Portofino for a second consecutive summer, a reminder that the romance of the rails is alive and well.
Closer to home, the spirit of train adventure is arriving with The Britannic Explorer, set to be the first luxury sleeper train to journey across England and Wales. Blending Britain’s rich rail heritage with contemporary culture, it will offer three-night journeys across Cornwall, the Lake District, and Wales. “Train travel has a magic to it: the rhythm, the unfolding landscapes, the feeling of stepping into another era,” Arnaud reflects. “With The Britannic Explorer, we wanted to create something entirely new for this region in the UK, one that honours its history while feeling completely fresh.” Imagine grand landscapes by day and a
botanically inspired bar by night—an experience that, much like everything Belmond does, is designed to be immersive, memorable, and deeply connected to its surroundings.
For Arnaud, it’s all part of the same vision: a brand that doesn’t just create places to stay, but places that stay with you long after you’ve left. “Luxury isn’t about conspicuous consumption anymore,” he says. “It’s about authenticity and emotional connection. That’s what we’ll continue to strive for.”
Patrick McCrae, Chair of Artiq
Creativity without Compromise
Isabelle Guyer speaks with Samson Bakare about creative influences, brand collaborations, and the hidden blessings of solitary work.
Samson Bakare is a multidisciplinary artist whose work navigates black identity across historical, contemporary, and speculative contexts. His practice is defined by bold colour, stylised form, and deep meaning.
We meet Samson at his studio in Bow, East London, nestled within an arts collective among a corridor of studios. He welcomes us with coffee, sweetened with condensed milk, before giving us the grand tour. With the sun beating down by the riverside, hinting at the arrival of spring, we settled in the studio to discuss
his career, journey to London from Lagos, the brand collaborations that have broadened his horizons, and, of course, what’s next?
A self-proclaimed maximalist with something to say, Samson talked us through his creative journey, from painting Black Renaissance figures and exploring the relationship between identity and fashion (a theme evident in his own style), to his current focus on the soul. Driven by curiosity, Samson explains that “knowledge is composite”and he sees the influence of all he’s learned in every work.
Isabelle You’ve been a full-time practicing artist for over five years now, with several solo shows and brand collaborations under your belt. Do you remember your earliest introduction to art?
Samson As a child I was lucky to have a mother who liked watching cartoons with us. I remember loving the simplicity and humour of Cartoon Network characters as well as DC, Marvel and Disney. I was intrigued by how cartoonists illustrated their characters by either minimising, exaggerating, or stylising their forms and elements. I saw the colours, the gestures and a bit of the fantasy which inspired me to create my personal comic drawings during my formative days.
Isabelle Your father is an architect and a great source of inspiration for you. How did this
shape your decision to pursue art and who were your other great sources of inspiration growing up? Have those influences changed over time?
Samson Before the digital revolution in architectural design, I watched my dad make intricate lines and geometric drawings with technical equipment like protractors, French curves, pencils and more. His craftsmanship and studio dedication were impressive, he generated a creative energy that was contagious. At the age of six, I made my first 3D Model of a house crafted with paper and board for my class assignment. The experience introduced me to spatial management and allowed me to think about the ability to improvise with resources and materials that were available.
Isabelle You’re not afraid to embrace new experiences and opportunities, if anything you
Samson Bakare pictured in his studio in Bow, East London, surrounded by sculptures and paintings from a new body of work.
thrive on it. Did this fuel your decision to become a full-time artist during covid? You describe a revolution in this time?
Samson During the pandemic lockdown, there was nowhere else to go, nothing much to do, but art saved me, just as art saves humanity. The world was in huge depression and fear, but art restored my sanity; it was a doorway to escape the chaotic world. I remember how I would paint from dawn to dusk till my fears were confronted. I was once again reminded of the futility of life itself, and this made me place a degree of urgency into developing my work. The noise was over, and I could listen to my inner self; my consciousness was heightened as there were little distractions. Solitude is truly a blessing at times.
Isabelle Prior to being a full-time artist, you worked as an art teacher. Did that experience influence your approach to making art yourself?
Samson Teaching art opened me to the necessity to equip myself with art history and critical thinking. I believe in the notion that a person cannot give what they do not have, therefore it was a privilege to impact others with the knowledge I’ve gained empirically. I knew I had to prepare because my students were so smart. Aside from the fact that teaching enhanced my public speaking skills, it also allowed me to theorise my ideologies about art. The kids made me realise the need for the world to rethink art education in an unconventional manner. Most importantly, my students taught me how to lead and how to love. Love is the ultimate power.
Isabelle I’m interested in the brand collaborations you’ve done in your career so far. Is this something you envisioned happening?
Samson When I started out in my career as a very young artist, I imagined cross-industry collaborations. I envisaged how art could transform all kinds of sectors: media, tech, corporate, education, medicine. I’m glad that so far, I’ve been able to contribute my creative prowess in a range of sectors, from luxury products and hospitality spaces, to music, entertainment and fashion industries, as well as the education and medical fields. Some of these collaborations entail creating an album cover for a musician, using my art at as a form of healing therapy for hospital patients, and sometimes creating a hybrid of fashion and art. I consider each of these acts as pushing the boundaries and breaking down rigid demarcations between diverse fields and cultures. My collaboration with Gucci, WeTransfer, Novotel and many others is a testament of my appetite for art inclusion in every sphere of life.
“I wish to democratise art because art is the power of the people.”
Isabelle Does it feel different when creating works for brand collaborations?
Samson Yes! Working with brands made me understand the dynamics of negotiations and shifting of grounds. I will explain: brands often have a core idea they want to communicate to the public and I have the duty as an artist to express my own thoughts through the projects while also making space for the brand’s message to come through. I find the most compelling way for their ideas to find reflection in the
project. Brand collaboration is a higher calling, away from my safe zone, now I must interpret briefs, engage in business conversation, listen to every unsaid word in order to make a mind-blowing innovation. On the contrary, some people have the notion that an artist who collaborates with brands are commercial. I do not believe so. These organisations have the financial power to sponsor the execution of innovative artistic ideas.
Isabelle You use a range of materials in your work. What is about a particular material that draws you in? What do you look out for?
Samson The discovery of acrylic paints has been a major aid to my practice. As someone with ADHD, I find it difficult to work with oil paints and slow dry mediums due to my hyperactive mind and inability to concentrate on a particular task for a long period of time. Art reflects the attributes and characteristics of its maker; this is why my acrylic medium has helped me manage my spontaneous personality. I also enjoy the plasticity of acrylics, the vividness, the luminosity, and most importantly the time saving advantage.
Isabelle Looking forward at what’s next for you, are there any new materials you’re excited to experiment with as you move more into large-scale public sculpture?
Samson For a long time in my career, I had always been keen on material experimentations. I look forward to working with copper, zinc, marbles, and precious stones. Speaking of public art, I do not believe in gatekeeping art; almost every other aspect of life and industry has been created exclusively for classes and nobility. I wish to democratise art because art is the power of the people. It’s an agency through which societal values can either be changed,
replaced or maintained. On this note, I admire the impact of Daniel Arsham, Anish Kapoor, Thomas J Price, and Yayoi Kusama. I look forward to unveiling my large sculpture in London and Lisbon.
Isabelle Thinking about your practice as a whole from the position of the viewer, what do you hope people take away from your work?
Samson I intend to remind my viewers of the importance of depth in a shallow world. As a maximalist, I believe in essence, I’m of the school of thought that “more is more”. My primary message mostly is about time and mortality. It is my hope that my work reminds my viewers on the brevity of life itself and how art can act as a guide that leads us through our time on this earth, using metaphors and stylisation, through which these messages are shared.
Isabelle Thank you so much Samson. Finally, what’s your favourite colour?
Samson GREEN.
Isabelle Guyer, Senior Curator at Artiq; photography by Damilola Ayo-Vaughan, Curator at Artiq
A New Creative Era
Gone are the days of one-size-fits-all models that ignored local context. Fifi Gianini explores a new, culturally attuned era reshaping how we stay.
The world of hospitality is undergoing a quiet revolution, driven not by thread-counts or spa menus, but by creative vision. Designers, artists and architects are reimagining how we experience travel, creating spaces that are as much about connection, culture, and sustainability as they are about comfort. As the demand for authentic, experience-led travel grows, a new wave of creative visionaries is responding by designing spaces that reflect the cultural depth of their locations while embracing a global perspective. This new era of hospitality is no longer defined by a bed for the night, but by immersive experiences rooted in place, people and time.
To better understand the creative forces behind this emerging design movement, David Cámara, Director of UNEX, Spain’s leading Contract
Association uniting architects, designers, engineers, and tech firms, offers a compelling perspective. The shift, he suggests, is being driven by the growing influence of local creative communities: “The future of design lies in the empowerment of emerging creative communities. By including them in the design process from the very beginning, we not only preserve their cultural identities but also unlock their creative potential. This collaborative approach, connecting decision-making teams with local artists and designers, is key to generating more authentic, culturally rich spaces.” His comments reflect a broader trend towards decentralised creativity—one that values grassroots input as much as global expertise. Whether taking cues from the energy of the bustling streets of Buenos Aires or the serene landscapes of Bali, designers are responding
to context, not simply imposing aesthetics, but interpreting them in ways that resonates with their surroundings. The result is not just a trend but a redefinition: an experience that feels truly rooted in its place.
Take Locke de Santa Joana in Lisbon, part of the edyn group. The property, once a 17th century convent, exemplifies this philosophy. “For our historic properties, we always seek to implement a strategy of adaptive reuse” says Marshall Inglis, Senior Design Manager at edyn. “Our design team’s approach was to frame and enliven the key aspects of the property, with a design approach that compliments and pays homage to the history of the building and the wider city.” This tension between past and present, between preservation and progress, sits at the heart of modern hospitality. “It’s about framing a narrative that feels both timeless and
contemporary,” Marshall adds, “where the space is infused with the local essence, but still offers a fresh, modern experience.”
The modern hotel is no longer simply a place to sleep. It’s a space to work, to play, to pause. As the lines between business and leisure blur, hospitality has responded with spaces that enable collaboration, creativity and well-being. The Locke brand exemplifies this adaptive approach. Its studio-apartment model meets the needs of today’s traveller, someone seeking not just a bed, but a place to work, connect, exercise and unwind. Guests are encouraged to live, eat, work and socialise in shared spaces that foster interaction, both with other travellers and with the local neighbourhood. It’s this holistic approach that’s redefining hospitality where the guest experience overall carries as much weight as the room itself.
Above and next page: Locke de Santa Joana, featuring a commission by Ana Teresa Barboza. Interiors by Post Company, art curation by Artiq, photography by Francisco Nogueira. Following page: The Breakers, with interiors by Tihany Design, art curation by Artiq, photography by Riccardo Piazza.
Marshall notes, “At Locke, we believe that modern hospitality has had to widen its offering. Our hotels create meaningful experiences and build a sense of community, both for our guests and the wider city.”
This movement is also encouraging collaboration. Across the sector, creative communities are working together, designers with artists, artists with architects, architects with local craftsmen, to develop spaces that reflect the complexities and diversity of today’s globalised world. Some 4,000 miles west across the Atlantic, at The Breakers in Palm Beach, Tihany Design took a storied property and reimagined it with sensitivity and flair. “Our design philosophy is rooted in storytelling,” says Alessia Genova, Principal at Tihany Design. “Each project is tailored to its specific location and brand DNA, and we infused The Breakers with elements that reflect
the spirit of Palm Beach, light-filled spaces, sophisticated coastal references, and a colour palette that echoes the surrounding landscape.” That interplay between old and new is a thread running through many contemporary hospitality projects. From Locke’s adaptive re-use of historic buildings or Tihany Design’s respectful modernisation of an iconic property, the aim is the same: to create spaces that are rooted in place and made for the moment.
Art, too, plays a pivotal role. For designers like Alessia, art contributes to the narrative of the interior: “Art is an essential layer of any interior, it brings depth, emotion, and a sense of place. When art and interior design are in dialogue, they create an immersive environment where every element feels intentional and interconnected.” At The Breakers, art is a used not only to honour history but introducing new perspectives, with a group of contemporary
Florida-based artists now on display within the property. Similarly, at Locke de Santa Joana, artist Ana Teresa Barboza was commissioned to create brand new works inspired by Lisbon’s geography and colour palette. Marshall explains the thought process behind this collaboration: “Ana’s work is deeply rooted in an understanding of tradition and the natural landscape, and these aspects appealed to us. The resulting artwork, exhibited in our guestrooms, complements the spaces while evoking essences of Lisbon’s unique landscape.” In these spaces, art becomes integral to the experience, not an afterthought. As David remarks: “The impact of emerging creative communities in shaping hospitality cannot be overstated. By empowering local artists and designers to be involved in every stage of the design process, we ensure that the spaces we create are not only innovative but deeply connected to their surroundings. It’s about understanding
and amplifying the unique stories that each community has to tell.”
As the hospitality industry continues to evolve, the influence of creative communities remains undeniable. From sustainable design to blended spaces, global aesthetics to local storytelling, creative visionaries are shaping not just how we travel, but why. Marshall sums it up: “It is about offering more: more experiences, more community, and more connection to the places we inhabit. We are shifting the understanding of what a hotel can be, and in doing so, we are reshaping the very nature of travel itself.” The future of hospitality is creative, collaborative, and deeply connected to its surroundings—and that future is already here.
Fifi Gianini, Lead Art Consultant, Hospitality, at Artiq
Artiq Asks
JOYCE WANG
Known for her approach to space, light, and materiality, Joyce Wang has crafted some of the world’s most luxurious interiors. Find out about her favourite projects and guilty design pleasures.
(1)
A piece of art you dream about having at home... George Condo anything. I took a painting class whilst I was at MIT and the tutor encouraged me to paint on a giant canvas. I remember stretching the canvas and getting his help to apply gesso to it because it was so big. I painted objects that were meaningful to me including cartoon characters, roller blades, and my boyfriend’s underwear. I struggled to fill in the canvas and my tutor helped. It was a collaborative effort. Later in life, I saw my tutor’s painting at a gallery in Mayfair; it was George Condo.
(2)
The importance of collaboration… I get energy from other people so when someone is passionate about their work, it draws me to want to work with them and to challenge myself. I will push myself more than if I were working alone. And so I believe the best work comes out of collaboration.
Your proudest achievement... Mott 32 and being part of the expansion of this dining concept across multiple locations to become the revered and valuable brand it is today. It makes me proud because the design process brings out the best in my team; the client trusts us to find a hook and to fulfil that design vision wholeheartedly for each and every location. Even though we are onto our ninth location, we approach the design with fresh eyes and full hearts.
(3)
(4)
The best career advice you’ve received... Stay foolish, stay young.
(5)
Guilty [design] pleasures... Crafting my kids Halloween costumes. We did Transformers one year. Huggy Wuggy another. The following year, a scene from Harry Potter complete with a train crafted from cartons and bicycle wheels, with smoke coming out of the chimney. I loved working on the stain glass designs of the four Hogwarts Houses, even the kids got involved. A testament to the fact that you can create anything if you put your mind to it.
(6)
A book you return to for inspiration… I love science fiction or anything that paints the picture of dystopian worlds. Novels by Kazuo Ishiguro, films such as Alphaville and Metropolis, and works by David Lynch. An imagined reality that can easily be our world should we decide differently on what matters. It speaks to the importance of the built environment, and how powerful it can be to instil memories and influence behaviour.
1. Portrait of Joyce Wang. Photography by Mark Cocksedge
3. Mott 32 Dubai. Photography by Joyce Wang Studio
4. Illustration of Huggy Wuggy, by Lia Morse
Ones to Watch
Shuckburgh Rose
MA Fine Art, Slade School of Fine Art
Rooted in both the rugged landscapes of Wales and the artistic rigor of London, Rose Shuckburgh’s practice is an evolving dialogue with the natural world. Exploring the delicate interplay between material, scale, and environment, her work draws upon the rhythms and textures of the landscapes that have shaped her.
Rose’s relationship with the land runs deep, cultivated through generations of family ties to mid-Wales. “It’s a place where there is no hiding from the elements, so you live with them and with the land.” This immersive experience has instilled in her an understanding that the natural world is not something separate, but part of a thick copresence.
Increasingly, her practice embraces organic materials, working with foraged plant dyes, earth sediment slips for ceramics, and felting techniques using wool gifted by farmers from
her home valley. These slow, seasonal processes challenge the accelerated pace of modern life. “The slowness which they demand goes against our modern human culture in a way that I find very moving,” she notes. By weaving the tangible and the ephemeral, Rose seeks to convey her belief that the natural world is not inert but inherently animate, imbued with energy and spirit.
Hovering between abstraction and representation, her work evokes familiarity without dictating narrative, carving a space for individual interpretation. “I mean to create the conditions for meaning to be conjured and questioned, rather than attempting to overly control the narrative,” she says. Her practice remains an ongoing meditation on the interconnectedness of the natural world— an exploration of the rhythms, cycles, and overlooked vitality of the landscapes she holds close.
Yuxuan
MA Fine Art, Camberwell College of Art
Hou
Constructed through subtly layered graphite, Yuxuan Hou’s landscapes convey a deep sense of contemplation. With their light and airy textures, his drawings encourage us to find stillness and fascination within the everyday, inviting viewers to pause, reflect, and appreciate the understated beauty often overlooked in daily life.
Considering landscapes a medium rather than a subject, Yuxuan plays with the abstract quality of his compositions, initiating his creative
process through a mixture of scale and focus, chance and control. Setting off on directionless hikes, he allows his sketches and photographs to guide him: “Randomness in terms of where I have been and what I’ve seen… control lies in how I choose and manipulate images”.
While Yuxuan works in both graphite and oil paint, he focused primarily on the former during his time at university. Graphite, he says, is a “medium without mystery”, traditionally seen as a preparatory tool for more serious oil
paintings. Yuxuan, however, looks to celebrate this common material in its own right.
Having completed his BA and MA at Camberwell College of Arts, Yuxuan recognises the freedom and mental space he now has and acknowledges the magnitude this holds: “The other side of the issue of being free means there is no guidance on what I should be doing. That could be quite terrifying at the start, but as an artist, we should be embracing the possibilities.” This sense of freedom challenges
him to trust his instincts and explore creative boundaries with confidence. Since his MA, Yuxuan has returned to Shanghai, where he has been inspired by Chinese Shanshui, which he loosely translates as “Chinse landscape.” At the core of his practice, he continues to encourage viewers to allow their surroundings to trigger them into giving their full attention and their curiosity to lookw and find fascination beyond the surface. In doing so, he fosters a deeper connection between his art, the viewer, and the world around them.
Sara
MA Photography, Royal College of Art
Sahores
Sara Sahores’ artistic journey is one of brave curiosity and exploration, from childhood visits to museums with her grandmother to experimenting with materials provided by her father, a cinema distributor and painter. “I think that kind of legitimation from a young age is important,” she reflects. “It makes you feel like what you’re doing is worth it, even if you’re not showing, or selling, or making art professionally.” This early support had resulted in a dynamic portfolio that challenges how we present and think about photography. Exploring this role as an archivist and collector, Sara approaches her photography with a powerful open-mindedness. “When considering what feels right, I go from asking myself why to why not?”
Sara’s practice moves fluidly between capturing and creating, exploring the intersection of materiality, pleasure, and perception. The dark and absorbent backgrounds of her photographs
reflect her responsiveness to the visual attributes of a place. Since moving to London to pursue her MA, she has found that this nearblack has entered her work. Reflecting on the diverse art scene London has provided her with, she notes, “The amount of exhibition openings per week that I get in my mailbox is insane.”
This immersion has allowed Sara to develop a deeper understanding of her rhythms and methodologies as an artist. While she maintains strong ties with a community of photographers back at home in Argentina, her time in London has expanded her artistic dialogue to include new perspectives and approaches.
Ultimately, Sara sees her practice not as a fixed exploration of a single theme but as a methodology for collecting, possessing, and transforming images. “My practice is intuitive,” she explains. “Sometimes I don’t know that I’m making new work until it’s done, and then I can start to reflect and conceptualise it.”
Ozwyn Gaia
MA Painting, Royal College of Art
Gaia Ozwyn explores her contrasting backgrounds through paintings of ethereal borderlands. A Caribbean-British artist who previously worked as a doctor, Gaia’s practice interrogates ideas of solitude and belonging, as well as the false dichotomies of intermediary spaces. By blending the sculptural qualities of concrete with otherworldly, gestural compositions, Gaia has created a unique material language that explores the contrasts within her identity. Stemming from a “distinct feeling of isolation which led to my need to make a theoretical place to seek solace”, her work challenges the notion of binary classifications and the pressure to fit neatly into a category. The use of concrete also holds bodily significance. “There is something personified about the presence of a solitary form in an unknown environment, in a plane that it perhaps has no business (or, all business) occupying.”
Much of her current practice developed during her time at university. Entering her MA from a non-traditional art background, she feels less restrained by the rules of painting. “No one told me I could put concrete in a painting, but nobody told me I couldn’t either!” Gaia also acknowledges the integral part artist communities play in her practice. She now shares a studio with two fellow RCA painters, where daily practice is informed by the critical approaches they developed at university.
Having studied medicine and biomedical sciences, Gaia worked as a doctor in the NHS before pursuing arts. Her time at the RCA was influenced by this history, exploring how problem-solving through the scientific method might apply to painting. When asked for advice for those considering art school, Gaia was quick to say: “Run the experiment; follow the thread of whatever interests you.”
Megan Davies and Senah Tuma, Artist Administrators at Artiq; photography by Nathan Grace
Hiring Gen Z Talent?
8 strategies that actually work.
ERIC was created with a clear mission: to empower young people to break into the creative industries. Having experienced the challenges of navigating their early careers, founders Samantha Hornsby and Mae Yip recognised the lack of support for emerging talent. ERIC was their solution, bridging thegap between the creative sector and its next generation of thinkers, innovators, and trailblazers. Today, the platform is a vital resource, providing practical, actionable solutions for those starting out in the creative sector.
For companies tasked with ushering in this new era of talent, hiring Gen Z may feel like unfamiliar territory. But the team at ERIC understand that success lies in recognising and addressing the unique needs of this generation. From personalised onboarding to fostering a sense of purpose, their strategies for engaging and motivating Gen Z are rooted in empathy and real-world experience. These insights offer any business the tools to create an inclusive, dynamic workplace where Gen Z feel ready to bring their full potential to the table.
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Gen Z in the workplace? No need to be intimidated
With four generations working together, it’s easy to feel like there’s a disconnect. But here’s the thing: Gen Z isn’t some mysterious new species. They’re probably more nervous about you than you are about them! Think back to when you were just starting out—you had the same doubts and worries. Keep that in mind, and it’ll be way easier to connect, understand each other, and create a workplace where everyone gets along.
Personalise the onboarding experience, Gen Z will thank you for it
Gen Z thrives when feeling seen as individuals, especially by their manager. From day one, take the time to get to know what drives them. One easy way? Try the 16 Personalities Test to understand their communication style, feedback preferences, and work habits. A little personalisation goes a long way. It builds trust, strengthens relationships, and creates a workplace where they feel valued (and do their best work!)
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Ditch the jargon to help Gen Z feel confident at work
Gen Z might seem confident online, but in the workplace, they’re often starting from scratch. What feels obvious to you might be completely new to them. Skip the jargon, keep things clear, and don’t assume they already know the ropes. Overexplaining isn’t a bad thing—it helps them learn faster, build confidence, and feel more at ease in their new role.
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Keep Gen Z motivated with quick wins and clear goals
With an average attention span of just 8 seconds, Gen Z thrives on short-term wins, not distant, abstract goals. They stay motivated by achieving small, tangible milestones that make an immediate impact. Set clear, achievable targets and mix in mini projects alongside their daily tasks. For example, have them create a 5-minute presentation on industry research or a new idea. This gives them a creative outlet, a clear deadline, and that all-important dopamine hit to keep them focussed and engaged.
Build community for Gen Z, it’s more important than you think
Gen Z craves community—it’s key to tackling rising loneliness stats. As a manager, creating a space for connection is crucial (and no, postwork pub drinks won’t cut it). Keep it simple: set up a WhatsApp group for new joiners, organise networking breakfasts with senior staff, or even have them share their career journey in schools. Community matters—so make it happen!
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Tap into Gen Z passion for purpose to keep them engaged
Gen Z are the most socially conscious generation: 63% havevolunteered fora causetheycare about. Theywant theirwork to align with theirvalues, so ask your new joiners: What do they feel strongly about? What change do theywant to see in the world? Understanding their ethical drive builds a deeper connection and, where possible, you can support their passion—even setting aside work time for it. Purpose fuels motivation, and for Gen Z, it’s a game-changer.
Making feedback land is all about the delivery
Gen Z craves feedback. 60% prefer weekly or even daily check-ins. But here’s the catch: they don’t always want to hear it the same way. The key? Ask them upfront how they prefer feedback. Some like it direct, some prefer a “shit sandwich,” and others just need reassurance. Some want every detail, while others just need a quick tip. Nail the delivery, and you’ll avoid half the feedback struggles before they even start.
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Set clear
expectations, Gen Z can’t meet what they don’t know
If you’re struggling with expectations, it’s probably not because Gen Z doesn’t want to meet them. It’s because they don’t know what they are. Unlike Millennials, Gen X, and Boomers, who have years of experience in traditional office environments, Gen Z is still figuring out workplace norms. Many expectations that seem “obvious” to older generations were never made clear to them. Spell things out from the start, and you’ll avoid misalignment before it happens.
Art in the Aftermath
Riki Auton explores technology’s potential to create a more inclusive and accessible world and shares a promising future for artistic enterprise.
Art and technology are often seen as opposing forces—Art grounded in subjective expression, and Technology in objective analysis. And yet, throughout history, they have remained interconnected; from the earliest discoveries in pigment chemistry to the invention of photography, creativity and technological innovation have worked hand-in-hand to drive progress.
The divide between art and technology is, therefore, more myth than reality—a fallacy that overlooks their shared foundations in curiosity and imagination. While some argue that technological developments like artificial intelligence threaten traditional forms of creativity, this is not necessarily true. Instead, the future presents exciting opportunities for art and technology to work more effectively together, fostering greater inclusivity in creative practice.
Art has the power to convey emotions, ideas, and experiences that transcend local languages and cultures, yet without proper accommodations, many are excluded from this shared cultural dialogue. Ensuring that everyone, regardless of background, ability, or circumstance, can engage with art helps build a society in which creativity becomes a universal language: a means to connect, understand, and empathise in an evolving technological landscape. In this context, recent digital advancements have expanded the potential for artistic expression and accessibility across the entire creative process. From ideation to execution and post-production, technology has shown its capacity to amplify and refine the way artists work. Once made, social media has radically transformed how art is shared.
Historically, artists relied on galleries and fairs to showcase and sell their work, networking
with patrons, journalists, and the public to gain recognition. However, high costs of entry and geographic constraints have often limited opportunities for many emerging or marginalised artists. Opportunities depended heavily on personal connections, while curators and dealers have favoured established or marketable artists.
Although these barriers persist, access to the creative industry is undergoing a significant shift. Instagram, TikTok, and X (Twitter) have dismantled restrictions of access and location, enabling artists to showcase their work globally without depending on traditional gatekeepers of taste. Similarly, services like Patreon and NFT marketplaces offer ways for artists to monetise their work without intermediaries. This direct engagement fosters deeper relationships between artists and audiences, liberating creators from reliance on institutional grants or gallery representation.
Emerging artists, particularly those from underrepresented backgrounds, now have the tools to connect with larger audiences, build followings, sell work, and cultivate personal brands without sacrificing money, time, or creative integrity. This shift empowers them to develop work that aligns with their creative vision, rather than conforming to market demands dictated by institutions.
One example of this new wave of creative independence is Joke Amusan, a GermanNigerian artist based in London. Exploring identity, heritage, and migration through sculpture and textile, her practice illustrates the multifaceted experiences of Black womanhood. By sharing her creative practice online, Joke has amassed a devoted following across Instagram, TikTok, YouTube, and LinkedIn. She explains, “social media has
Above: Joke Amusan captured by Lara Amusan. Right: Joke Amusan’s exhibition Where Two or Three are Gathered at TAFETA, London. Photography by Pedro Lima.
been instrumental in expanding the reach and accessibility of my art practice. It allows me to engage with a global community, nurturing meaningful connections along the way.”
This visibility has resulted in a variety of exhibitions, features, and brand collaborations with the likes of Tate Modern, Muji, Hobby Craft, and British Vogue. By using social media to “provide a portfolio of my finished work, works in progress, and insight into my journey,” Joke has cultivated her own distinctive space 22to celebrate the Black experience.
Joke, and artists like her, are embracing social media to build platforms where they can express themselves without curation or constraint.
As these technologies evolve, they continue to break down barriers, encouraging broader dialogues where opinions on art are no longer dictated by a select few. As more artists turn to social media to expand the reach and impact of
their work, galleries and museums must adapt in kind, leveraging technology to improve accessibility and public engagement. For individuals with physical disabilities or limited mobility, augmented reality (AR) tours can simulate in-gallery experiences from anywhere in the world. For Deaf and visually impaired visitors, AI-powered tools are providing important accommodations like those at Museu do Amanhã in Rio de Janeiro, Brazil, which recently enhanced its AI chatbot, IRIS+, to incorporate features for real-time sign language translation and audio descriptions.1
However, AI’s impact extends beyond improving physical accessibility. It can also help address issues of representation across class, race, and gender. Norway’s Nasjonalmuseet has prototyped a semantic search tool powered by OpenAI’s GPT-4 Vision API that enables users to search for artworks using descriptive
text rather than specific titles or artist names. Instead of relying on terminology rooted in European art history, users can enter intuitive search terms that resonate with their personal context and understanding. From visual motifs, to abstractions, metaphors, and emotions, the Semantic Collection Search analysed 6,000 artworks and objects to form a database of descriptive text capturing “pictorial content and motifs as well as subtleties like themes, emotions, and narratives in art.”2 This tool eliminates the need to remember artworks by specific mediums, art movements, or the complicated spelling of an artists’ name. For instance, Adolph Tidemand’s A Woman’s Arm can be found by the term closeness, while a search for rural celebration reveals Jules Breton’s Midsummer Night Dance in Courrières.
By accounting for diverse cultural and linguistic references, the Semantic Collection Search allows users to engage with art based on personal narratives. This, in turn, empowers individuals from marginalised groups to search for art that resonates with their unique cultural experiences—whether based on gender, race, class, or geography. Searches like women in resistance or art about migration, reveal artworks aligned with themes of diversity, inclusion, and identity, regardless of how historically dominant curatorial practices may have classified them. Not only does this offer a more intuitive way for the public to engage with art, but by encouraging discovery and exploration through casual curiosity, users are introduced to novel cultural contexts that allow them to interpret and discover art in ways that are meaningful to them. Though the system is currently limited to Nasjonalmuseet’s collection, it represents the wider capacity of AI to explain art in a way that builds more meaningful relationships with what we see.
Harnessing the power of technology enables art to exist in thoughtful dialogue with the communities it seeks to represent, amplifying marginalised voices to encourage broader, more varied participation in the cultural discourse that shapes our world. Art—and the technologies that support it—must evolve alongside the communities they serve, remaining inclusive, adaptable, and open to new ideas. In 1839, following the introduction of Daguerreotypes (an early form of modern photography), French painter Paul Delaroche reportedly declared, “Painting is dead!”3 Yet, in the 185 years since, we have celebrated painters like Monet, Dali, Kahlo, and O’Keeffe alongside photographers such as Dorothea Lange, Ansel Adams, and Annie Leibovitz. Photography didn’t replace painting—it became part of its process, enriching and expanding its possibilities. Their co-existence reminds us that art doesn’t die as new technologies emerge—it adapts, transforms, and thrives.
While the implications of AI and social media are difficult to predict, creativity is far from dead. By embracing technological advancements and nurturing their potential for good, we can shape a more accessible and inclusive future for art. One where innovation breaks down long-standing barriers to entry, and art becomes open to all.
1. Daniel Morena (2018) IRIS+ Part One: Designing + Coding a Museum AI, American Alliance of Museums
2. Tord Nilsen (2023) Semantic search in an online collection, Nasjonalmuseet beta
3. Emma Beddington (2024) Painting is dead: celebrating the 150th anniversary of photography in 1989, The Guardian
Riki Auton, Marketing Executive at Artiq
Exploring the Nasjonalmuseet’s online collection using their AI-powered semantic search tool. Discovering Jules Breton, Midsummer Night Dance in Courrières (Ca. 1875), Oil on canvas, by searching “dance”.
Patrons of the Present
Corporate art is shifting focus. From blue-chip assets to living, working artists, Mollie Lenton-Lyons explores why businesses are investing in contemporary creativity.
Corporate engagement with art is undergoing a radical shift. Since the 1950s, when David Rockefeller pioneered corporate art collections, businesses have largely invested in static displays—artworks selected as assets but gradually losing their connection to the company’s evolving identity.1 Once carefully curated, these pieces eventually faded into the background, seen but no longer truly experienced. Today, forward-thinking brands are embracing a dynamic, purpose-driven approach, one that prioritises living artists, ensuring art remains a vibrant and interactive part of corporate spaces. At the heart of this transformation is the rise of art rental, an evolving model that allows businesses to rotate contemporary pieces within their space. Leasing rather than purchasing keeps environments fresh, engaging, and culturally
relevant, all while providing a steady source of income for living artists. Since 2009, Artiq has led this shift.
Throughout this time, the role of corporate art has evolved alongside broader changes in workplace culture. Gone are the days when collections were merely status symbols or aesthetic afterthoughts. Today, brands like Halkin, established for over 15 years in the premium and flexible co-working market, recognise art as a powerful tool for storytelling, employee engagement, and brand differentiation. Taciana Dos Santos, Head of Design at Halkin, points out how “In a corporate setting, art can initiate conversations, enhance the work environment, motivate employees, reduce stress, and reflect the company’s values and identity.”
Historically, corporate collections were viewed as prestige assets reflecting the personal tastes of executives. Magnus Resch, author of How to Collect Art, explains how corporate art collections once served as symbols of success and stability, handpicked by leadership to showcase influence.2 Today, art is a powerful tool for building relationships, reinforcing brand identity, and meaningfully engaging with clients and employees. This shift aligns with ESG (Environmental, Social, and Governance) and DEI (Diversity, Equity, and Inclusion) commitments. Since these policies began reshaping corporate priorities in the 1960s, employees and other stakeholders increasingly expect inclusive, socially relevant, and creative environments.3 Unlike traditional blue-chip collections, contemporary rotational displays allow businesses to showcase diverse
voices, emerging talent, and socially conscious themes, fostering an atmosphere that reflects today’s workplace values of inclusion and innovation.
Ruth Duston, CEO of London Heritage Quarter, illustrates this change through a recent collaboration for International Women’s Day. Reflecting on the initiative, she says:
“By showcasing five artistic practices across four office lobbies, this installation blended art with themes of technology, nature, and sustainability, offering a thought-provoking way to honour the influence of women in these areas. The celebration also underlined how art can enhance the workplace. In a hybrid working world, offering employees and partners the opportunity to enjoy artistic installations can be transformative for office culture.”
Previous page and top left: Sana Rao in her studio. Clockwise from top left: Works by Sana Rao, Nowshin Prenon, and Emma Boittaux, from the London Heritage Quarter’s International Women’s Day exhibition.
One of the most significant aspects of this movement is its tangible impact on artists themselves. Historically, corporate art investments favoured established names, benefitting the secondary market rather than living, working artists. Today, businesses are committing to contemporary creators, choosing to rent rather than purchase, and in doing so, creating ongoing engagement with artists and providing them with direct financial support. This shift comes at a pivotal moment for the art market. Public auction data from the first half of 2024 revealed a 26% decline in sales at major houses like Christie’s, Sotheby’s, Phillips, and Bonhams compared to 2023.4 With figures now falling below pre-pandemic levels, corporate art programmes are emerging as a critical economic force, offering emerging artists exposure and financial stability in an increasingly uncertain market. Corporate spaces, once overlooked as cultural platforms, now offer artists a new way to reach audiences beyond gallery walls. For many, this means a more consistent and reliable income stream alongside the unpredictability of gallery representation and one-off sales, allowing them to focus more on their craft.
Beyond aesthetics, this shift reflects a broader corporate responsibility toward social impact, community engagement, and cultural investment. Brands are actively looking for ways to contribute to the creative economy, and integrating living artists into workspaces, campaigns, and collaborations is a direct way to do so. Art has become more than just decoration—it’s now a means of communication, identity, and innovation. Taciana also highlights the practical advantages of art rental: “Renting artwork allows us to keep up with trends, discover new, hot artists, and maintain a cohesive look even when refurbishing a room or an entire building. It’s one less thing to worry about swapping or updating.”
From a business standpoint, art rental offers a cost-effective and agile approach to collecting. Unlike permanent acquisitions, which require significant capital, storage, and long-term maintenance, rentals provide financial flexibility and ensure spaces stay visually dynamic In the post-pandemic hybrid workplace, where office design plays a crucial role in connection and creativity, regularly refreshed art can enhance inspiration and cultural relevance. The model also democratises corporate collecting, making art more accessible to those that may not have previously considered investing in it. Opting for a rental model means showcasing a broader range of artists and styles, tapping into cultural trends and aligning interior spaces with contemporary movements.
By championing living artists and embracing rotating collections, there is a clear cultural statement being made. As corporate environments continue to evolve, their role as patrons of contemporary creativity will only grow. Direct engagement with artists ensures that art remains a dynamic, ever-evolving presence within the workplace. As more businesses embrace this approach, the corporate landscape will only become visually richer and more creatively, socially, and culturally engaged with the world we live in today.
Mollie Lenton-Lyons,
1. Shellie Karabell (2016) How And Why You Should Start A Corporate Art Collection, Forbes
2. Scott Reyburn (2024) Art Basel Opens to Safe Sales and Fears of a Weaker Market, The New York Times
3. (2023) The Evolution of ESG, CXO Magazine
4. (2024) The Global Art Market in 2024: A Mixed Landscape with Emerging Trend, London Art Collective
Art Consultant at Artiq
On Material and Making
Molly Coffey in conversation with Juliet Ferguson-Rose and Nowshin Prenon on process-led practice and the blurred line between art and craft.
As if in reward for climbing several flights of stairs leading to Juliet Ferguson-Rose’s studio in the heart of bustling Holborn, I am met with the visual delight of her sculptural works. Bathed in the soft light of a March afternoon, these pieces, crafted from clay, feature marbled surfaces of ethereal lilac, burnt orange, and rich umber. Smaller pieces are displayed on surfaces scattered around the space, while larger works hang from the studio walls. They carry an organic, archaeological quality, both ancient and contemporary, as though unearthed from a distant past to be reinterpreted in the present.
Juliet explains that the marbling effect in her work comes from combining two clays sourced from different places. The result is a rich, organic texture, with variations in colour, density, and form that echo the natural world, reminiscent of geological formations or fossilisation processes. The clay, she tells me, becomes a time capsule, preserving the essence of the present moment. As I take in her studio, an eclectic mix of artworks, artefacts, sketches, and photographs, I am reminded of the ancient human need to create, preserve, and remember. When textile artist Nowshin Prenon arrives with her handwoven silk pieces in tow, we are immediately captivated by their iridescent shimmer. She shares how she experiments with both acid and natural dyes to achieve her rich palette: the golden hue from avocado skin, the deep red of madder root, the warm yellow of onion peel. I learn that green emerges from a delicate mix of gardenia, indigo, and sometimes even red cabbage. Though her practice appears meticulous, there is an element of surprise, much like Juliet’s delight in the unpredictable alchemy of clay.
As we make room for several of Nowshin’s works on the central plan chest alongside
Juliet’s sculptures, we find the combination of artists’ works harmonise in a surprising way. Nowshin’s textiles are colourful, precise, geometric, a striking contrast to the raw, organic nature of Juliet’s ceramics. It’s the interplay between Nowshin’s delicately crafted silk pieces and Juliet’s earthy, imperfect sculptures that, we agree, creates a satisfying visual dialogue. As I am about to discover in our conversation, Juliet and Nowshin’s practices, though visually distinct, share a profound resonance in their exploration of heritage and materiality. Both artists approach their chosen materials not just as means for creating finished works, but as integral elements of their expression. By layering different clays from various locations, Juliet creates textures that speak to the passage of time, place, and history. Elevating clay beyond a preparatory material to a central feature within her work, the artist challenges the conventional view of clay as merely a medium for sculpture or casting.
Similarly, Nowshin’s practice centres on the winding technique in weaving—a process traditionally regarded as a preparatory step before creating the final textile. For Nowshin, however, winding transcends its technical function; it is an art form in its own right, deserving of full recognition. Through winding, she intricately layers threads to explore texture, colour, and form, creating aesthetic representations of cultural narratives and personal journey. Both artists elevate their chosen foundational materials and processes, inviting viewers to appreciate the labour and meaning woven into every layer—both literal and metaphorical.
As we settle into a corner of the studio and start recording, I ask Juliet about the origins of the archaeological quality in her work and how she views her practice as a form of excavation.
Two London-based artists, immersed in material and process, working from their studios.
Above: Juliet Ferguson-Rose in Holborn. Below: Nowshin Prenon in Wapping.
Juliet The forms I use are often taken from petroglyphs—cup and ring marks. These are carvings in large stones, often 4,000 to 5,000 years old, made by Neolithic people in Britain. They’re mostly found in Northumberland and South West England.
For the Threshold series, I took inspiration from cup and ring marks in Northumberland. It’s thought they might represent the brightness of stars; more rings indicate a brighter star. Some of my more oval pieces reference a visit to Rome, specifically the Hippodrome on Palatine Hill near the Colosseum. The beauty of a mould is that it can be used in many ways, over and over again; they begin with one shape and then evolve to reference other architecture.
Molly I’m curious, how do you both see materiality specifically as a way to bring historical narratives into the present?
Nowshin The architectural elements in my work come from growing up in Bangladesh. My childhood memories, visiting museums every summer with my dad, really stuck with me. Everything felt so big as a child. One museum was entirely painted pink, which I remember vividly. I draw from those architectural elements. I travelled a lot with my parents, so I collected visual references from around the world. Now I find architectural inspiration everywhere, even in the city where I live. A beautiful building, a façade, or an interior, all of it filters into my work. I also draw inspiration from paintings and cultural festivals. I keep a sketchbook full of these references and draw from them to bring it all together.
Juliet Sketching and collecting references is a part of my process too. As a child, I wanted to be an architect, archaeologist, or anthropologist,
or some combination of those. One summer, aged 8, I took part in a week long archeological dig looking for roman coins, and I loved it. I’ve always loved finding things, objects with a story. That feeling of discovery carries into my practice. When I make a piece, it’s like I’m burying it, I’m layering and squashing clay into a mould without fully seeing what I’ve made until I take it out. It’s a very maker-meetsarchaeologist experience. I’m interested in creating a memory of this time, preserving bits of now for the future. We’re living through this moment together, and my work is about that.
Molly That touches on the idea of leaving a physical trace through your work. For both of you, how does your choice of material shape your conceptual direction, and in what ways does it carry forward meaning or intention?
Nowshin I began with natural materials, drawing from my heritage. In Bangladesh, there are six seasons, all humid. I wanted to create fabrics that could be worn all year round. My mother always wore silk sarees, and those memories have stayed with me. I find real joy and purpose in using natural materials. I use silk, cotton, and linen, but mostly silk, because of those strong personal memories. In terms of sourcing, I aim to be as sustainable as possible. I avoid generating new waste by buying from suppliers who collect unused industrial yarns, and I dye the threads myself. For me, sustainability isn’t just about using organic or recycled materials. It’s also about shifting mindsets. Through my workshops, I try to help people understand how fabrics are made, encouraging them to value the process and make more thoughtful, conscious choices when it comes to textiles and consumption.
Juliet I work with clay, and one of clay’s beauties is that it’s endlessly recyclable. If a
piece cracks, you can break it down and reuse it. Even fired pieces can be ground into grog and added to new clay which can add strength. Some of my collection pieces are made from fired fragments, creating a collage of exploration. I also set these ceramic fragments in jesmonite. I collect found objects: plastic bits from the street or mesh from fencing that sometimes is found protecting the newly discovered petroglyphs I’ve visited. I love the idea of these layers, woven textures protecting something lasting. Clay feels like an amalgam of flora, fauna, minerals, everything that’s broken down into this microcosm of life. It’s taken thousands of years to form. In that way, a little universe of its own. I’ve started collecting clay from different places too, which I process and use to layer stories from those locations.
Molly Historically, textiles and ceramics have been categorised as craft, but that distinction has evolved. How do you see your work contributing to the ongoing dialogue about the distinction between craft and fine art?
Nowshin I’ve shown my work in both craft and art shows to observe the response, and found my work sits at the intersection. Craft audiences appreciate the technique. Art audiences focus on composition, colour, and precision. General audiences are just fascinated by the technique itself and want to try it. My work doesn’t sit clearly in one category, but I do see it as art. It’s handcrafted, yes, but it deserves to be considered as fine art.
Juliet I come from a fine art background. At the Royal College of Art, I studied ceramics and glass alongside people from both high craft and fine art backgrounds. We learned from each other. The boundaries are blurring. It’s more about how the work is seen in its own right. It’s not about functionality; it’s about the
Above: Tools, materials, and miniature works in Nowshin Prenon’s studio. Right: Various works from Juliet Ferguson-Rose’s studio.
storytelling, the ideas. That’s where both our practices align.
Molly In relation to clay, sculptors have always used it to model forms before casting in bronze or plaster. Clay has always been present in fine art, even if not always recognised as the final work. Your practice seems to honour that material history, Juliet.
Juliet Exactly. Clay’s been part of the process for centuries, even if it wasn’t the end result. I’m interested in letting it be the final form. That definitely resonates with how Nowshin approaches winding, not just as a preparatory technique, but as a final art form in its own right.
Molly How do you both envision your practices evolving? Are there any future directions or projects you’d like to share?
Nowshin I’m currently working on some collaborative projects and doing a residency at a textile hub. I can’t share much yet, but it’s exciting to see how my work might translate when seen through another discipline, maybe with added functionality. I want to scale up, create larger pieces, maybe installations, to see how people engage with them in different spaces. That’s my next push. It’s very labour-intensive, but I’m looking forward to the challenge. I’m also working with some architects to explore new applications.
Juliet I have a few group shows coming up this summer and I am focusing on a new body of work after my solo show Assemblage at Frestonian Gallery in June 2024. I’ve got a few group shows coming up too, but right now I’m just enjoying making. It’s all about discovery. The making informs the making. That’s what keeps me excited.
Molly Coffey, Curator at Artiq; photography by Nathan Grace
Hive Mind
The UK’s creative industries are a global powerhouse, fuelling growth, shaping culture, and inspiring change. But they’re also under pressure: undervalued in policy, underfunded in education, and under strain from shifting economic, technological and political tides.
In response, we brought together a hive mind of leaders from across the sector to reflect on what’s working, what’s broken, and what’s next. What emerged is a compelling picture of an industry bursting with potential but held back by systemic barriers—from class and access to
rigid funding models and outdated perceptions of value. Their insights reveal the urgent need for new frameworks: ones that recognise creativity’s full impact, not just its market value. Ones that nurture diverse talent, reform education, and challenge the persistent notion
that being creative is just “playing”, a hobby rather than a serious career path. Across the board, contributors call for deeper crosssector collaboration, from health to AI, where creativity is already driving radical innovation and public good.
This is more than a sector—it’s an ecosystem. And if we want it to thrive, we need bold, joined-up thinking and long-term investment. From social justice to economic renewal, this is a call to action—for reform, recognition, and a reimagined future powered by creativity.
Creative UK is the leading network supporting and championing the UK’s creative industries, advocating for policy change, funding opportunities, and industry growth. AI is an unavoidable part of any conversation about the future of the creative industries, here in the UK and around the world, given the ongoing debate around AI and copyright, how can policymakers strike a fair balance between fostering innovation and protecting creators’ rights? Is an opt-out system a viable solution, and what alternative approaches should be considered?
Caroline Norbury Founder and CEO of Creative UK
This is a complex and divisive debate. Should policymakers move forward with a proposed rights reservation mechanism (aka an opt-out) which is intended to balance rights holders’ ability to safeguard their work? Or, in plainer terms – should AI developers be
able to access data such as scripts, media, music, visual art to train their models, unless the rights owner specifically says no?
Impassioned arguments are frequently set up as binary, with AI presented as either the ‘bad guy’
or the saviour of every industry from healthcare through to tech. This approach simply does not reflect the reality of the situation at hand.
The UK Government, and many in the Creative Industries perceive AI as a core driver of economic expansion. Whilst the potential is undeniable, one thing is clear: that growth cannot come at the expense of the creators who fuel the entire system.
license to ingest and train on copyrighted content by default – unless creators actively opt out) is framed as a balanced solution: a system where AI developers can innovate, whilst creators retain a mechanism to protect their work.
But let’s be clear: this is not balance. It is a significant economic power shift away from creators and towards large technology platforms. We are being presented with a false choice: either weaken copyright protections to foster AI growth, or risk stifling innovation. This is a flawed and unnecessary trade-off. Instead, we need a framework that enables responsible AI
“The UK Government, and many in the Creative Industries perceive AI as a core driver of economic expansion. Whilst the potential is undeniable, one thing is clear: that growth cannot come at the expense of the creators who fuel the entire system.”
The challenge we face is not AI itself. The cultural and creative sectors are already embracing AI in exciting ways – from streamlining production processes to pioneering new art forms. The issue is how AI developers access, use and monetise creative content; and whether creators receive fair compensation for their work. Without a robust and enforceable copyright framework, we risk an extractive model where creative labour is devalued and AI innovation is built on unlicensed, uncompensated content.
The UK Government’s preferred option (to introduce an opt-out system for text and data mining (TDM) which would give AI developers
development, whilst ensuring that creators are fairly compensated. That means licensing, not opt-outs; mandatory transparency and stronger enforcement of copyright protections.
The UK has an opportunity to lead, here: not by weakening copyright, but by setting a gold standard for AI-creator partnerships. That means designing a system where licensing creative content is the norm, transparency is mandated and creators share in the economic value that AI generates from their work.
The decisions we make today will define the future of both AI and the creative economy. We must get this right–not just for the artists, writers, musicians and creators of today, but for the future of the UK’s cultural and creative industries as a whole.
The Sutton Trust has long highlighted social mobility challenges across various sectors, but class diversity in the creative industries often receives less attention than other forms of representation. What does the data tell us about the extent of the issue? Why does class remain such a systemic barrier, and what is the creative sector losing by failing to include more working-class talent?
Jon Datta
Head of University Access & Digital at The Sutton Trust
Class diversity in the creative industries has long been overlooked compared to other forms of representation, yet new research from the Sutton Trust highlights the significant barriers facing working-class talent. Our report, A Class Act, reveals that just 16% of those working in acting, music, and writing come from workingclass backgrounds-despite this group making up nearly a third of the UK workforce. Younger adults from working-class backgrounds are also four times less likely to work in the creative industries compared to their middle-class peers, reinforcing the stark inequalities in access and progression.
The imbalance begins in education. At elite institutions such as Oxford, Cambridge, King’s
College London, and Bath, over half of creative students come from upper-middleclass backgrounds, while only 4-7% are from working-class backgrounds. The divide is even greater in specialist institutions like conservatoires, where over 50% of music students are privately educated. These statistics reflect a broader pattern of exclusion that persists throughout creative careers. Beyond education, financial barriers further entrench inequality. The prevalence of unpaid internships and insecure freelance work makes it difficult for those without financial
Insitutions with the most privately-educated creative students:
support to sustain a career. Unpaid roles remain a widespread entry point, effectively shutting out talented individuals who cannot afford to work for free.
A lack of access to arts education in state schools limits early engagement with creative careers. The exclusion of creative subjects
rely on personal connections and informal recruitment practices, favouring those with family support and industry contacts.
By failing to include more working-class talent, the creative industries miss out on diverse perspectives that could drive innovation and cultural relevance. Working-class artists bring
“Just 16% of those working in acting, music, and writing come from working-class backgrounds-despite this group making up nearly a third of the UK workforce.”
from the English Baccalaureate (EBacc) and cuts to arts funding have disproportionately affected disadvantaged students. Our research also shows that participation in extracurricular arts activities is strongly linked to household income, further restricting opportunities for those from lower socio-economic backgrounds.
However, a recent government announcement signals a potential shift. The Department for Education has pledged “to support the delivery of high-quality arts education through a new online training offer for teachers, promoting opportunities for children and young people to pursue their artistic and creative interests in school”, with an emphasis on boosting access for disadvantaged pupils. While this is a positive step, sustained funding and targeted interventions will be necessary to ensure this investment translates into long-term improvements in social mobility within the sector.
Moreover, networks and cultural capital play a crucial role in securing jobs in the sector. As our report outlines, creative careers often
authentic narratives and lived experiences that challenge mainstream storytelling, ensuring that art, music, film, and theatre better reflect society as a whole.
Initiatives such as the Social Mobility Commission’s Creative Industries Toolkit demonstrate how inclusive practices can lead to groundbreaking work. However, these efforts must be scaled up across the sector to create lasting change.
Addressing class inequality in the creative industries requires structural reform. The Sutton Trust is calling for action such as the creation of an ‘arts premium’ in schools to fund arts education, the removal of audition fees at publicly funded conservatoires, and the inclusion of socio-economic diversity as a condition for arts funding. Without these changes, the sector risks perpetuating privilege, limiting artistic expression, and disconnecting from broader audiences.
Ensuring fair access to creative careers isn’t just about equity - it’s about safeguarding the future vibrancy of the UK’s cultural landscape.
Driving effective returns on capital is about growth and efficiency. However, the creative industries have a big dispersion of business models in numerous subsectors, making the sector harder to grasp and more challenging for investors to navigate. Gaining a full understanding takes time, contradicting the desire for immediate returns.
Over the past few years, the UK’s creative industries have contributed an average of £126 billion a year to the economy, eclipsing many traditional sectors. Between 2010 and 2022, the sector’s GVA grew by 50.3%, more than double the overall UK economy’s growth of 21.5% in the same period. Clearly, there’s money to be made. And yet, access to funding remains a huge challenge for creative entrepreneurs. Why? Is it a systemic misunderstanding of creative business models and their value? Is it greed, a 10x exit vs a 4x sustainable business. How can investment in the sector be reshaped to support creative growth?
Fran
Sanderson
CEO of Figurative
A significant gap in knowledge also exists around how the creative industries generate revenue. Many don’t know the difference between a West End theatre and a local theatre, let alone their economic models. While it’s widely known that major national museums are
free, few consider how they are funded. Instead of engaging with the complexities of the mixed-model economy and funding structures, people often stop thinking about it altogether. Even if this is a slight generalisation at the public level, it has major implications for how creative businesses and artistic output are financed.
Another challenge is how creative work is valued. Even within the sector, it is often significantly underpriced. When I started working in the City, learning economics
through a Chicago School, highly capitalist lens, I was married to an architect. I remember thinking, this is crazy, architects are structurally massively underpaid. What they bring has been badly priced, and now they’re stuck in a cycle where low fees became the norm. I wonder if a similar structural issue exists across the creative industries. Have creatives historically just been worse at talking about money, leading to undervaluation over time? Whatever it is, the contribution of the entire sector is undervalued, and this reinforces the perception that creative work is not a viable financial investment.
One of the biggest challenges for investors is scale. How do you take an idea and scale
I wonder if this is part of the broader issue around money—do creative businesses struggle to attract investment because they simply aren’t cash-hungry enough? Or is the investment gap not large enough? Perhaps their ambitions aren’t geared towards aggressive scaling, or they prioritise the work itself over expansion. Perhaps the creative industries don’t have capitalism at their core in the same way other sectors do—whether for better or worse.
Venture capital often feels like a game of flipping businesses for resale rather than building something of lasting value. Where’s the heart in that? Who actually cares whether the business does well in the long run? It’s more about fattening a calf for sale than creating
“For the creative industries to truly attract investment, we need to bridge the gap between financial expectations and the unique nature of creative work.”
it effectively? What are the major economies of scale? This is where investors make their money—through mass-market opportunities.
However, the creative industries consist of a large number of small organisations, which makes them less attractive to investors focused on large-scale growth. Gaming is an interesting case study because it scales visibly. It attracts investment precisely because of its scalability and mass-market appeal. However, I worry that the rapid growth statistics of the creative industries—particularly contributions from film, TV, and gaming—might give policymakers a misleading impression of the sector’s overall health. If you strip out gaming and tech, the numbers look very different.
something meaningful and sustainable. Maybe this is why the creative industries don’t fit neatly into the traditional VC model.
Right now, investment is challenging. We are seeing some expansion in consumer models— new business income streams that are still relatively unproven but promising. There is growth in areas like courses, straightforward B2C revenue, and diversification beyond traditional “bums on seats” models. It would be great to see more platforms and marketplace creation, as these offer significant efficiencies. However, for the creative industries to truly attract investment, we need to bridge the gap between financial expectations and the unique nature of creative work.
In a world where success and value are predominantly measured through data and financial returns, how can we shift the conversation to fully recognise the intangible yet transformative impact of art, both in society at large and specifically within healthcare and mental wellbeing? In striving to make this impact more measurable, how does Hospital Rooms demonstrate its value?
Amie Corry
Chair of Hospital Rooms
Hospital Rooms is a radical project. Founded by artist Tim A Shaw and curator Niamh White, we rethink the provision, facilitation and conceptual grounding of NHS mental health services through art. Our model is based on coproduction and collective learning. Extensive workshops and creative programmes involving artists, staff and service users feed into the creation of every artwork.
As cultural workers, we perhaps take the belief that art can bring connection, change and meaning for granted. Working at the intersection of different sectors, all with their own measures and pressures, Hospital Rooms has had to develop new ways of evaluating the transformative potential of facilitating creativity in typically restrictive, clinical settings.
Our success can be measured through so many different factors. Attendance figures, for example: in 2023–2024, we delivered 146 artist-led workshops and reached 1178 in-person participants. At the same time, our Digital Art School reached nearly 50,000 worldwide in a year and we delivered beautiful art materials to all 750 NHS mental health units in the country, who typically have very little or no supplies – the odd broken pencil or dried up paint pots.
Other measures range from: the fact that service users might have shorter stays in Hospital Rooms units; the reporting of better interactions between staff and patients (a staff
member on one ward recently reported that the artwork, “makes me want to go to work now”); artists describing the projects as career highlights that bring new dimensions to their work; the success of our annual fundraising auction of world class art; collaboration with bodies such as the World Health Organisation and New York University; awards and grants; the foundation of a sister organisation, The Art of Healing, in Lagos by artist Nengi Omuku.
The most important and validating measure is probably the feedback the team receives. Dr. Sophie Bagge, Lived Experience Lead on our three-year project at Hellesdon Hospital, Norwich, said recently that she was
blown away by the work’s ability to create spaces that “people felt equal in, they felt heard”. Sophie recalls: “One woman said it was the first time in months she had experienced a ‘quiet mind’ and I don’t think anyone who hasn’t experienced voices or intrusive, rapid thoughts can truly understand what it is like to, even for a short period, experience rest from that.”
Perhaps the other clearest measure is how, in under a decade, Hospital Rooms has become a thriving organisation, with as many as 60 staff and freelancers around the country. The project has gone from being deemed impossible by many, to hugely in demand, supported by
“The art sector similarly needs new models to safeguard the wellbeing of those who participate in it, and ensure its relevance in a rapidly moving world.”
the NHS and Arts Council England as well as by crucial grants and private donations. With nuanced, holistic evaluation, the power of this work becomes inarguable – I fundamentally believe it has the ability to destigmatise ill mental health, which is needed now more urgently than ever. The art sector similarly needs new models to safeguard the wellbeing of those who participate in it, and ensure its relevance in a rapidly moving world. Hospital Rooms offers us a new model for cross-sector collaboration with real world impact.
Patrick McCrae, Chair of Artiq
Right: Right: A mural by Yinka Ilori at Springfield Hospital. Photography by Damian Griffiths, courtesy of Hospital Rooms
Making Space
A shopping district, a public park, or an entirely new neighbourhood, Heatherwick studio prioritises people in every design, regardless of scale or location.
Spatial design is being approached with greater consideration of the human experience within communal urban spaces. A renowned UK-based architecture and design studio, Heatherwick studio, is paving the way for people-centric and experience-led design approaches. Much like curating art, the goal in both cases are to design with empathy—prioritising the emotional and psychological needs of the individuals who interact with the space, whether living around it or are merely passing through.
Founded in 1994 by Thomas Heatherwick, Heatherwick studio operates across a wide array of disciplines, from public transportation systems to cultural landmarks, always driven by a deep commitment to enhancing the human experience. At its core, the studio’s philosophy is based on the belief that architecture and design should not only serve a functional purpose, but also cultivate a sense of joy, community, and social responsibility. Tim Brown, in Change by Design, advocates for a holistic approach to design that considers the social, emotional, and cultural contexts of a space, an ethos that is also reflected in Heatherwick’s commitment to positive social impact through his team’s work In the studio’s large-scale public projects, the human experience is evident, particularly in communal spaces designed to foster connection. From urban pedestrian plazas and public parks to entire neighbourhoods, their designs prioritise human interaction and inclusivity.
This article highlights three international public projects by Heatherwick studio: Coal Drops Yard in London, UK; Little Island in New York City, US; and Xi’an CCBD in Xi’an, China. Each of these projects encapsulates how the studio continues to push the boundaries of design with a focus on human experience, and how this approach promotes both individual
enjoyment and collective social progress. These projects are also featured in Thomas Heatherwick’s book Making, recently revised and reissued with sixteen new projects and insights into the studio’s creative and collaborative processes.
In a sense, the collaboration continues with the people who ultimately inhabit the spaces. In a conversation with Dezeen founder and editorin-chief Marcus Fairs, Thomas Heatherwick explained that his projects are open to users’ interpretations. “We’re trying not to tell people what they’re supposed to do. We’re just making platforms.” He continued: “We prioritise projects that are publicly accessible and are interested in the human-centred dimension.”
Coal Drops Yard in London demonstrates the studio’s commitment to user experience by promoting fluid movement and interaction. Its design incorporates a network of pathways and open areas that allow visitors to wander, explore, and engage dynamically with the architecture.
Little Island in New York City further reflects this people-centred approach, creating an environment that fosters both passive enjoyment and active engagement through public events and performances, cultivating a strong sense of community through its inclusive and diverse programming.
The Xi’an CCBD project in the city of Xi’An highlights their emphasis on adaptability and community engagement. Designed to accommodate a range of activities, from business and retail to cultural events and public leisure, the space can evolve over time with changing needs, making Xi’An CCBD not just a destination, but a versatile environment that can meet future demands and ensure long-term urban resilience.
Project Name
Coal Drops Yard
Tucked away in the heart of King’s Cross, an area once defined by industrial grime, stand two elongated Victorian warehouses that have quietly witnessed London’s transformation for over 150 years. Known today as Coal Drops, they were originally built in the 1850s and ’60s to store and distribute coal brought by rail from northern England. Their decline mirrored the city’s shift to new energy sources, and by the late 20th century, they had become relics of a bygone era.
In the past two decades, however, urban regeneration has breathed new life into the area, including these once-abandoned buildings. To lead their transformation into a contemporary retail district, the King’s Cross Development Partnership commissioned Heatherwick Studio to reimagine the site. “Our challenge was to radically remodel this
Victorian infrastructure to meet the needs of a modern urban development without losing what made it special,” says Lisa Finley, Group Leader at the studio. “To achieve this, we focused on understanding its original function and how it evolved over time. This allowed us to determine the best way to preserve and reuse the existing fabric while seamlessly integrating new elements.”
The grandeur of the two-story coal drops had faded over time, later housing light industry, warehousing, and nightclubs before falling partially into abandonment in the 1990s. Today, that grandeur has been restored. A striking new 35-meter-wide extension flows seamlessly from the original gables, creating the illusion that the two buildings touch in midair—a bold architectural gesture that bridges past and present, as well as the two rows of units.
Architectural illusions: the two buildings appear to touch in midair. Left: photography by Luke Hayes. Above and previous page: photography by Hufton+Crow.
Coal Drops Yard. Photography by Heatherwick Studio.
Yet restoring the buildings was only part of the challenge. The long, linear site needed to be transformed into a vibrant public space where people could gather and move freely. The result achieves just that. Designed as a network of interconnected streets rather than a conventional shopping mall, the retail quarter offers a dynamic, multi-level experience. The 55 retail units vary in size, catering to a diverse mix of retailers, from emerging pop-ups to flagship stores for established brands.
Multiple entry points at both ends of the viaducts, along with thoughtfully designed bridges and staircases linking into the central yard, create an open, fluid space that encourages natural movement through the site. It’s an incredible achievement to transform two long, linear rows of warehouses into something that feels soft, almost circular.
Coal Drops Yard is a testament to the power of adaptive reuse, preserving its industrial heritage while making it fit for contemporary purposes. Rather than forsake the past in pursuit of the future, the project embraces it. By repurposing instead of demolishing, it retains a sense of place and authenticity—qualities too often lost in regeneration projects.
Perhaps it’s the studio’s commitment to “leading from human experience” that has ensured this balance. As cities reimagine post-industrial spaces for 21st-century needs, Coal Drops Yard demonstrates that a heritage-led approach to urban renewal can be both commercially viable and socially meaningful, honouring the past while remaining relevant for the future.
Left: photography by Raquel Diniz. Above: photography by Hufton+Crow.
Is there any place in the world more closely associated with creativity, the performing arts, and vibrant urban life than New York City? It’s equally known for its density and the constant demand for public space. So, when planning a new public park, where do you begin?
New York City has a strong tradition of reinventing public spaces, turning overlooked or underused areas into greener destinations. In 1857, Central Park became one of the first major landscaped public parks in the US. More recently, in 2009, a disused elevated freight line was reimagined as The High Line, a lush, linear park stretching from Hudson Yards in the north to the Meatpacking District in the south. Not far from there, a new public park opened in 2021, suspended over the Hudson River, nodding to Manhattan’s maritime past and its obsession with piers.
When philanthropist Barry Diller and the Hudson River Park Trust invited Heatherwick studio to design a new addition to the waterfront off Manhattan’s Lower West Side, the team saw a larger opportunity: to rethink what a pier could be. “The project began when we were asked to conceive of a sculptural structure to go on a design for a newly enlarged piece of the Hudson River Park promenade. The project was interesting, but we saw the opportunity to create a more engaging experience for New Yorkers and to build on the city’s heritage of inventing exciting new public spaces”, explained Thomas Heatherwick. The pier was reimagined as a seamless, sculpted landscape rather than a structure propped on stilts. Its supporting piles rise into planters, shaping the park’s rolling topography, lifting at the edges for sunlight, dipping to form hills, viewpoints, and a natural amphitheatre.
A new park on the water for all New Yorkers. This page: photography by Hufton+Crow. Previous page: photography by Tomothy Schenck.
Top: photography by Hufton+Crow. Right: photography by Angela Weiss, Getty Images.
Every corner of the island offers a distinct microclimate, creating a tapestry of greenery that shifts with the seasons.
Placing people’s experience front and centre of the design, the team wanted to eliminate any disruptive structures that might break the illusion of being immersed in nature. But a theatre also requires a back-of-house, and the studio cleverly employed organic design solutions to conceal the practical realities of how the open-air theatre operates on Little Island. The tallest piles distribute the load to the shorter ones, creating a void beneath the deck. The tallest piles distribute the load to shorter ones, creating a void beneath the deck. This undercroft reveals the structure’s foundations while forming a viewing platform over the water, offering a unique perspective of
both the park and river. Essential facilities are tucked away on a discreet lower deck, keeping the landscape uninterrupted. Every detail was carefully considered, from how the greenery unfolds upon arrival to the view from every theatre seat.
Blending performance and parkland, Little Island offers New Yorkers a rare retreat—a place to pause, watch a show or unwind under a tree and watch the sunset. It’s bold, fluid, and effortlessly theatrical, the perfect stage. Its slopes and pockets of greenery create a sense of intimacy, feeling organic rather than engineered. You’re still very much in the city, but it feels just far enough away.
The ancient city of Xi’an in central China has a rich legacy of terracotta and pottery spanning thousands of years. Once the eastern gateway of the Silk Road, it exported glazed pottery to the far corners of the world and is best known as the home of the famed Terracotta Army.
Like many cities in China, Xi’an is undergoing rapid transformation and urbanisation. At the end of last year, a new district designed by Heatherwick Studio opened to the public. As a studio, their philosophy is inherently forwardlooking. But how do you merge this vision with the deep history and heritage of such an ancient city?
The Xi’an Centre Culture Business District (CCBD) lies south of the historic city centre. Spanning 155,000 sq m, the new neighbourhood weaves together shops, restaurants, offices,
and apartments amid manicured gardens and terraces. Rather than the generic glass and steel monoliths we’ve grown accustomed to, this development honours the city’s legacy of craftsmanship and its historic connection to ceramics. More than 100,000 uniquely glazed tiles—developed in close collaboration with local makers—clad the façades, columns, and curving beams. Despite its newness, the goal was to create visual complexity: imperfect, textured, and deeply resonant with Xi’an.
Mat Cash, Partner and Group Leader at Heatherwick studio, reflects on the challenges of designing on such a scale: “Super large-scale developments are being built all over the world to satisfy rapidly urbanising populations. By their very nature, they are often overbearing, singular, and devoid of character – they do nothing for the people they are meant to serve.”
This new urban development honours the city’s legacy and historic connection to ceramics. All photography of Xi’An CCBD by Qingyan Zhu.
As a response, the studio took a different approach. “We wanted to infuse our project with the spirit, variety, and texture that happens naturally in cities over time,” he explains.
“The district pays homage to the city’s tradition of making and its historic connection to ceramics.”
The design is intricate, with imagination and creativity evident in every detail. Conceived for visual complexity, the district reveals itself in layers. From a distance, its skyline recalls the tiered roofs of Xi’an’s ancient temples. Up close, ceramic planters, soft-edged stone, and lush greenery add depth and texture. At its centre stands the Xi’an Tree, a 57-metre-high vertical park—both a landmark and a gathering place— rooting the district in nature and community. Leela Keshav, invited to write an essay on the project, posed an important question:
“In an era of mass industrialisation and cheap construction, might there still be value in an approach rooted in craft, care, and long-term thinking?” We live in a time defined by instant gratification and short-term thinking, and thus, the need for lasting design has never been greater. The places we return to, year after year, are those that make us feel good, keep us engaged, and stand the test of time. Xi’an CCBD is a prime example. At its core, it is a statement of aesthetic expression—a reflection of the studio’s vision to create buildings that spark joy and contribute to a modern heritage that enriches the city.
Xi’an Tree, standing at 57 m (187 ft), is a natural gathering place and focal point of the new district. Paired with ginkgo leaf-patterned flooring, it brings a touch of nature to the urban landscape.
Lovisa Ranta, Marketing Manager and Tommaso de Benedictis, Curator, at Artiq
Artiq’s Design Directory
Great design is never created in a vacuum. It’s the result of collaboration with an extraordinary network of partners and suppliers, each contributing their unique expertise to shape exceptional spaces. This directory showcases brands trusted by our team—those who consistently inspire, innovate, and elevate the design process.
Search, sample, specify
Material Bank is revolutionising the way architects and designers source materials, offering a seamless, single-platform solution to search, compare, and order from hundreds of leading brands. With over 400 brands, 40 categories, and 40,000 materials available for delivery across Europe and the Middle East, the platform is taking the sampling process to the next level. Users can explore a wide range of high-end samples, all delivered overnight in one convenient, consolidated box. It’s fast, free, and designed to save time without compromising on creativity or quality. From smooth textiles to rich woods and sophisticated surfaces, each sample arrives ready to inspire—without delays, waste, or excess packaging.
More than a platform, Material Bank is a design partner, streamlining workflows, supporting sustainable practices, and empowering creative excellence. It’s sourcing made simple, efficient, and future-focused.
Sample box from Material Bank
Making the impossible possible
In the heart of Italy lies a company quietly shaping some of the world’s most luxurious interiors. Extra Ordinario, a boutique manufacturing contract firm, is redefining excellence in bespoke millwork and FF&E (Furniture, Fixtures & Equipment) for luxury hotels, fine-dining establishments, yachts, and exclusive private residences. With a name that hints at its philosophy—delivering the extraordinary—Extra Ordinario has built a reputation for its craftsmanship, precision, and an unwavering respect for creative vision. The firm partners with some of the most celebrated architects and interior designers in the world, helping translate their designs into reality with a refined, artisan approach that only Italian manufacturing can offer.
What sets the company apart is its team: composed of former designers, Extra Ordinario uniquely understands the nuances of the design process. This insider perspective allows for seamless collaboration and an intuitive respect for design intent, a quality often lost in large-scale production. “Our goal is never just to fabricate furniture or finishes,” says the team, “but to protect and elevate the design vision behind every detail.” Their portfolio reads like a who’s who of luxury hospitality: from the serene sophistication of Aman Resorts to the iconic glamour of Bvlgari Hotels, the elegance of Oetker Collection’s La Palma Hotel, and the timeless refinement of Rosewood and Ritz-Carlton properties. As global luxury evolves, Extra Ordinario remains a beacon of timeless quality and design fidelity—proof that true craftsmanship is still very much alive.
Art meets engineering, design meets craft
Every Bert Frank lamp is meticulously designed and manufactured in the United Kingdom, where craftsmanship thrives. Their workshop, though not a 19th-century throwback, embodies a forward-thinking, technologically advanced factory. Here, highly skilled machinists and experienced fabricators, proud of their work, contribute to the creation of each lamp. With a firm belief in the importance of quality, their British artisans consistently deliver excellence.
Every Bert Frank light bears witness to this commitment–from the lustre of hand-finished brass to the smooth movement of hinges and the seamless integration of joints. Each intricately knurled thumb nut and elegant finial showcases craftsmanship of the highest order.
Bert Frank’s wall lamp Bide 625
Where inspirational design meets purposeful innovation
Tarkett’s approach to design is about shaping experiences, inspiring emotions, and improving lives. As global pioneers in multi-material flooring, Tarkett offers interior designers an extraordinary palette of possibilities, from tactile carpets and warm, natural woods to versatile vinyl and striking linoleum. Their mission is to empower designers, helping transform creative visions into vibrant realities across hospitality, commercial, residential, and educational spaces worldwide.
But the story goes deeper. Tarkett is pioneering circular innovation through groundbreaking initiatives like the ReStart® programme, which reclaims used flooring and transforms it into inspiring new materials. The brand’s iQ Natural flooring harnesses renewable biomass to create stunning floors that significantly reduce carbon footprints, demonstrating that beauty and sustainability can seamlessly coexist.
Inclusivity is embedded in Tarkett’s DNA. Understanding the subtle ways design impacts wellbeing, the brand leads with flooring solutions tailored to support neurodivergent individuals. Through calming colour palettes, sensory-friendly textures, and acoustically sensitive designs, Tarkett creates nurturing environments that welcome everyone equally. By partnering with Tarkett, designers are invited to push boundaries and create spaces that delight, inspire, and meaningfully impact lives, today and for generations to come.
We are Artiq, the international art agency creating impact with culture.
Our business creates more opportunities for artists, more art experiences for people and is fostering a sustainable arts economy in which creatives can grow and thrive.
Find out more at artiq.co or get in touch at enquiries@artiq.co
Artiq
1st Floor
23-25 Great Sutton Street London, EC1V 0DN
+44 (0) 20 3137 2101
Cover image featuring works by Juliet Ferguson-Rose and Nowshin Prenon
Photography by Nathan Grace
Paper kindly supported by GF Smith
Cover GF Smith Colorplan Chartreuse 350gsm
Text Munken Design Kristall Rough
True White 120gm from GF Smith
A publication like this is only possible with the collaboration of a great number of creative and intuitive minds. As always, a huge thank you to the entire Artiq team for your endless creativity, diligence and inspiration.
Thank you to the contributing writers & photographers: Damilola Ayo-Vaughan, Fifi Gianini, Isabelle Guyer, Meela Thurloway, Megan Davies, Mollie Lenton-Lyons, Molly Coffey, Nathan Grace, Riki Auton, Senah Tuma and Tommaso de Benedictis.
A huge thank you to Alessia Genova, Amie Corry, Arnaud Champenois and the team at Belmond, Caroline Norbury, David Cámara, Fran Sanderson, Gaia Ozwyn, Heatherwick studio, Jon Datta, Joke Amusan, Joyce Wang, Juliet Ferguson-Rose, Marshall Inglis, Nowshin Prenon, Rose Shuckburgh, Ruth Duston, Samantha Hornsby and Mae Yip at ERIC, Samson Bakare, Sara Sahores, Taciana Dos Santos, Yuxuan Hou.
And finally, to Lia Morse, Lovisa Ranta and Riki Auton for bringing everything and everyone together.
